My Best Friend’s Girl
Unrated Edition
Directed by Howard Deutch
Starring Dane Cook, Kate Hudson, Jason Biggs, Alec Baldwin, Diora Baird
Lionsgate Home Entertainment
Release Date: January 13, 2009

I’m going to get something off my chest that I’ve been holding onto for quite awhile: I don’t hate Dane Cook. Not totally, anyway. In the past I have found the humor in his not so subtle brand of comedy. It’s stupid, juvenile, and gets old after awhile (especially when every idiot in the country tries to quote him incessantly), but I’ve had a laugh. That being said, his movies are garbage. Mr. Brooks and Dan in Real Life were good in their own right even with his inclusion, but they worked because he was left on the sideline — which is a nice way of saying he didn’t ruin them. The problem with the movies he has headlined is that his stand up doesn’t translate to the screen at all. So even if you like his routine, the movies suck. And if you don’t, they really suck. There is an argument in that thought about him being one dimensional and unfunny and his movies being proof of that, but I don’t have the strength to discuss it. Partly because I’m not trying to defend him and partly because it doesn’t matter. The point is, as easy a target as it would be to jump on the I-wouldn’t-piss-on-Dane-Cook-if-he-were-on-fire bandwagon, any problems My Best Friend’s Girl has actually aren’t his fault. Not totally, anyway.

Tank Turner (Cook) provides a service. When guys have somehow screwed up their relationships, he is the guy they hire to date their exes. His service is that he takes these unsuspecting girls on dates and is purposely such an asshole that they are left with no choice than to run back into the arms of their former boyfriends. Call it making them look good by default. It’s a pretty good little racket and the dates make for some of the funnier moments in the movie.

The Curious Case of Benjamin Button
Directed by David Fincher
Starring Brad Pitt, Cate Blanchett, Taraji P. Henson
Rated PG-13
Release Date: December 25, 2008

Every movie made employs the use of some sort of gimmick. Some are smaller than others and they don’t always work but whether it is the cast, the special effects, or something else, every filmmaker uses some device that they hope will allow their movie to rise above their contemporaries. In The Curious Case of Benjamin Button the gimmick is the story. A baby is born with the appearance and all of the physical limitations of an old man who ages backwards through life. It’s really a fascinating premise that, beyond its initial intrigue, stirs a lot of questions. How would one operate under the construction of backwards aging? How would you let it shape your everyday life? On a deeper level, how would you deal with the inevitability of loss in your life that would be compounded by that very construction? It is in the film’s attempt to answer these questions that you will find its true appeal.

At first glance, this film seems like a fairly odd film choice for director David Fincher. The styles of his previous films were consistently dark and stylish, in story and design. So why would a director who made his name with films like Fight Club, Se7en, and Zodiac opt for a character-driven fairy tale? For starters, he is one of probably a handful of directors with the ability to handle the special effects needed to properly translate the required images to the screen while being able to balance them against the story. If the main device of the movie is the setup, then right behind it would be how the effects were handled. Technologically, the film is a masterpiece. Throughout the film we see Benjamin (Brad Pitt) at every point in his life, from grave to cradle. Almost every scene features Pitt at various ages other than his own and you are left with no choice other than to believe it — it is just that seamless. In an early scene you see a child’s body with the 80-year-old face of Brad Pitt and you believe it. It is obvious enough to notice but subtle enough for you not to care. It’s only after the film is over do you start to wonder how it was done. The greatest compliment I can give the film is never once are you taken out of the story because of the effects.

Valkyrie
Directed by Bryan Singer
Starring Tom Cruise, Bill Nighy, Tom Wilkinson, Eddie Izzard, Carice van Houten, Thomas Kretschmann, Terence Stamp, Kenneth Branagh
Rated PG-13
Release date: December 25, 2008

Fundamentally speaking, the appeal of Tom Cruise in the last few years doesn’t make any sense. Just as soon as he took Katie Holmes hostage and started parading her and her “˜too scared for escape’ look around the world, people seem to have become disinterested in anything he has to do professionally; or so they say. Sure he was great in Tropic Thunder, but I’m talking about the movies he has had to carry on his own. Everyone seems to talk a big game but with the exception of last year’s Lions for Lambs, you have to go all the way back to Magnolia, almost a decade ago, to find a film he starred in that didn’t gross at least $100M domestically. So much for disinterest. Maybe he just has mind control over all of us too.

Keep in mind, these aren’t secrets I am exposing for the first time, so why his pick for his latest project was a big budget WWII Hitler assassination movie is beyond comprehension. For a man so caught up on selling his image, it stands to reason that there would be better ways to spend his time. It ended up being much worse than it appeared on the surface. The release date for Valkyrie moved so many times nobody cared when it was really coming out and as soon as the trailers came out the backlash was already in full effect.

Frost/Nixon
Directed by Ron Howard
Starring Frank Langella, Michael Sheen, Sam Rockwell, Toby Jones, Matthew MacFadyen
Rated R
Release Date: December 5, 2008

In 1977, just a few years removed from the only resignation by a U.S. President in the history of our country, Richard Nixon agreed to be interviewed by a moderately successful British TV personality, David Frost. Over the course of 28 hours of interviews, Nixon eventually apologized for the scandals of his administration. Not before or since has Nixon publicly addressed the issues surrounding Watergate.

Take a second to let that sink in. It’s only been 30 years since the interviews but the way we get our news today has changed so drastically that a news event like this would be impossible to achieve in today’s news environment. The advent of the internet and the 24-hour cable news channel has completely changed the way we get our news. But in 1977, when network anchors ruled the news on the Big Three, a foreign journalist against the odds scored what is still today considered the most important political interview ever.

Frost/Nixon was adapted from the 2007 Broadway play of same name that focused on the interviews and the preparation leading up to them. The outcome of the interviews is what made them as successful as they have become, but any time you have a movie based on actual events, the conclusion ends up being irrelevant. Since that element is removed as the dramatic driving force, the filmmakers had to rely on good old fashion storytelling and performances to push the film.

Synecdoche, New York
Directed by Charlie Kaufman
Starring Philip Seymour Hoffman, Catherine Keener, Michelle Williams, Samantha Morton, Tilda Swinton
Rated R
Release Date: October 24, 2008 (limited)

On a personal level, I consider Charlie Kaufman the most talented working screenwriter in Hollywood. I don’t think I am alone in this thought. His resume is one of impressive and envious of anyone in the past however many years you want to use to quantify it. It is one thing to craft a story with intelligent structure and dialogue. It is another thing altogether to create entire universes that have a distinct taste and smell to them. When you sit down to watch a Kaufman scripted film, there is an expected level of chaos and disorder. Being John Malkovich, Adaptation, Confessions of a Dangerous Mind, Eternal Sunshine of a Spotless Mind — all of these films have a wildly imaginative subject and scope, which is exactly the reasons we love them so much.

Synecdoche, New York marks Kaufman’s directorial debut and to the general movie-going public it will amount to little more than a confusing movie with a confusing title. Fans of his work will draw pretty much the same conclusion. On one hand it is an almost unapproachably pretentious movie with a title that is difficult to pronounce (“˜si-NEK-duh-kee’, by the way). On the other hand it is a movie that sort of transcends explanation. That’s not a movie critic cop-out, it just has many, many layers beyond its face value.